mexico-city

Rubén Valencia, El futuro del capitalismo (The Future of Capitalism), 1977, black-and-white photograph, 3 1/2 x 4 3/4". From “No-Grupo: Un zangoloteo a corsé artístico” (No-Group: Ripping the Artistic Corset), 2010.

“No-Grupo”

Museo de Arte Moderno Mexico

Rubén Valencia, El futuro del capitalismo (The Future of Capitalism), 1977, black-and-white photograph, 3 1/2 x 4 3/4". From “No-Grupo: Un zangoloteo a corsé artístico” (No-Group: Ripping the Artistic Corset), 2010.

On October 2, 1968, just a few days before the opening of the Olympic Games in Mexico City, the Mexican army committed a massacre in the Plaza de las Tres Culturas in the city’s Tlatelolco area, killing many students. The incident, whose perpetrators remain unpunished, left its mark on generations of Mexicans, including the artists and creators who became politically aware in the 1970s—a decade that Sol Henaro, the curator of this exhibition, “No-Grupo: Un zangoloteo al corsé artístico” (No-Group: Ripping the Artistic Corset), has called a period of camouflaged calm. The people were fed up with the crushing domination of the Partido Revolucionario Institucional (PRI). Many artists became committed to social change and expressed this in their work in various ways. Mexico in the 1970s saw the emergence of a number of groups—the Taller de Arte e Ideología (TAI), the Grupo

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